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FASHION REVIEW 

DOWN 
PETTICOAT LANE 



BY 

HELEN DURHAM 



Fashion Review 

Down Petticoat 
Lane 



by 
HELEN DURHAM 



THE WOMANS PRESS 

600 LEXINGTON AVENUE 

NEW YORK, N. Y. 






Copyright, 1920, by the 

National Board of the Young Womens Christian Associations 

of the United States of America 

Revised 1921 
Revised 1923 

This entertainment is fully protected under the United States 
Revised Statutes, Section 4966, Title 60, Chapter 3, and may not be 
produced except upon payment of a royalty of Five Dollars ($5.00) 
for each initial performance, which should be sent to Miss Helen 
Durham, Vassar Club, 130 East 57th Street, New York, N. Y. 

When this entertainment is used, it is asked that acknowledge- 
ment be given to author and publisher. 



This review was first produced during the war by the Red Cross 
in Los Angeles, California. The name of the originator of the idea 
is not known, so credit unfortunately cannot be given to her. The 
present arrangement is a revision of the original material with many 
additions from various sources. Many of the songs and much of the 
music are from the "Vassar Follies," given in New York in 1921 for 
the benefit of the Vassar Endowment Fund. 



Printed in the United States of America 



TMP96-007238 



DEC IS Wi 

©BID 26552 



Fashion Review 

Down Petticoat Lane 

The setting is a garden along Petticoat Lane. A white 
picket fence with arched opening in the center, covered 
with lavender wisteria or pink rambler roses, runs across 
the back of the stage, separating the lane from the gar- 
den. Down front on either side are two boxwood trees. 
A white stone bench stands near one of them. A pair of 
steps leads down from the garden into the audience. 

Along this lane, through the opening and into the 
garden stroll American girls in fashions of yesterday 
and to-day. Each parades across the stage with step 
and manner that become her gown, and then exits down 
the center aisle bowing to the audience as she goes. A 
few pause a moment before the footlights to sing or 
to dance or perhaps to do a stunt. 

First in the procession comes the American Indian girl in 
her striking costume of beaded brown leather; next the 
demure Puritan; then the stately Colonials, who dance 
the minuet ; the hoop and bustle girls, the Gibson girl of 
magazine fame, the Merry Widow, the handicapped 
hobble girl, and many others who yesterday paraded 
Fashion Lane. And then the girl of to-day strolls by 
with all her fads and fancies. First Mary Jane, jump- 



ing rope ; then the school girl in calico, who sings "School 
Days" to her "bashful barefoot beau"; a gym girl in 
middy and bloomers ; a pretty debutante ; a riding girl 
in smart habit and hat; a flapper; a golfer with bags 
and clubs ; a business girl in tailored suit and hat ; an 
evening girl with gorgeous wrap and feathered fan ; and 
finally the most beautiful of them all, the bride and her 
attendants. 

Music is played during the entire performance, changing 
as each character appears, — "Dixie," of course, for the 
Southerner, "Cheyenne" for the Westerner, the wedding 
march for the bride and finally "The Typical American 
Girl" for the ending chorus, sung by the entire cast to 
the bride. 



CHARACTERS IN ORDER OF APPEARANCE, 
WITH ACCOMPANYING MUSIC 

Part I 



FASHIONS OF YESTERDAY 


American Indian Girl 


1500 


The Chattering Squaw 


Puritan Girl 




1650 


Auld Lang Syne 


Cavalier Girl 




1700 


Chopin's Militaire Po- 
lonaise 


Colonial Girl and Man 1750 


Mozart's Minuet from 
Don Juan 


Empire Girl and 


Man 


1800 


Glow Worm 


Hoopskirt Girl 




1850 


Fifty Years Ago. Tune : 

I'll Be Your Valentine. 

Jump Jim Crow, from 

Maytime 

(See words of song) 


Bustle Girl 
Gibson Girl 




1875 

1895 


When Johnnie Comes 

Marching Home 
In the Good Old Summer 

Time 


Merry Widow 




1900 


Merry Widow Waltz 


Hobble Girl 




1910 


You're a Dangerous Girl 


Southern Girl 






Dixie 


Western Girl 






Cheyenne 


Hawaiian Girl 






Aloha 


Cuban Girl 






La Paloma 



Part II 



FADS AND FANCIES OF TO-DAY 



Mary Jane 

School Boy and Girl 

Party Girl 

Gym Girl 

Debutante and Dancing 

Partner 
Riding Girl 
Afternoon Girl 

Sport Girl 

Commercial Artist Girls 

Business Girl 



Flapper Girl 



Evening Girl 

Bride and Her Attendants 



Finale — Entire Cast 



London Bridge Is Falling 

Down 
School Days 
Incense Burning 
Any popular gym march 

Any popular waltz 

The Hunter's Song 

Bridge Fiends. Tune: Cuba 
(See words of song) 

Any popular tune 

The Studio Dwellers 

(See words and music of song) 

Salary Song. Tune : Missis- 
sippi 
(See words of song) 

You Must Flap To Be a 
Flapper. Tune : Florrie 
Was a Flapper 

Any popular air 

Wedding March from Lo- 
hengrin and Mendels- 
sohn's Wedding March 

The Typical American Girl. 
Tune: She's Typical of 
Old V. C, from the Vas- 
sar Follies 
(See words and music of song) 



CHARACTERS DESCRIBED IN DETAIL, WITH 

ACCOMPANYING MUSIC 

Part I 

FASHIONS OF YESTERDAY 

Characters Music 

American Indian Girl 1500 The Chattering Squaw 
Striking brown Indian costume, heavily beaded and 
fringed ; brown stockings, leather moccasins ; beaded 
head-band with bright red feather at back ; hair in long 
braids at either side. 
Stands at opening in characteristic Indian pose, head up, 
body erect, arms folded across chest ; comes down-stage 
with Indian lope, pauses a moment in front of footlights, 
raises right hand to eyes and scans imaginary landscape. 
Exits down center aisle with familiar Indian walk. 

Puritan Girl 1650 Auld Lang Syne 

Simple gray Puritan costume; white cap, kerchief, cufrs 

and apron, white stockings, black shoes. 
Comes along lane in shy fashion, stands at opening with 
hands demurely clasped in front. Makes a quaint curt- 
sey to audience before going down the steps. 

Cavalier Girl 1700 Chopin's Militaire Polo- 

naise 
Dark velvet costume of the period, with train, long sleeves, 

high neck; plumed hat to match and high black boots. 
Enters and parades in front of footlights with stately, 

rather aloof manner. 



Colonial Girl and Man 1750 Mozart's Minuet from 

Don Juan 

Lady's costume — colonial costume of satin: tight bodice; 
low neck ; short sleeves ; pannier skirt ; white stockings ; 
black pumps with colonial buckles of silver; powdered 
hair or wig. 

Gentleman's costume : tight coat with long tails ; vest 
and ruffled stock and frill ; knee breeches ; white stock- 
ings ; black pumps with colonial buckles ; powdered wig. 

Lady enters from one end of lane, gentleman from the 
other. They curtsey to each other, and gentleman leads 
lady to center of the stage where they curtsey again 
before starting the minuet. 

(See description of dance, page 30.) 

Empire Girl and Man 1800 Glow Worm 

Lady's costume — high-waisted satin costume of empire 
period : short, puffed sleeves ; neck cut low off shoulders ; 
long train; poke bonnet of satin to match, either worn 
or carried by streamers ; stockings and satin high-heeled 
slippers to match gown; hair parted and done high in 
back with curls at each side. 

Gentleman's costume: tight-fitting satin trousers; satin 
coat of darker color ; brocaded vest ; ruffled stock ; high 
silk hat. 

Girl and partner stroll down the lane together; pose a 
moment under arch before starting Gavotte. 

(See description of Gavotte, page 26.) 

8 



Hoopskirt Girl 1850 Fifty Years Ago. Tune: 

and Man I'll Be Your Valentine 

As encore, Jump Jim 
Crow. Tune : Victor 
Herbert's Maytime 

Lady's costume: wide, old-fashioned hoopskirt dress; 
tight basque ; lace kerchief ; ruffled pantalettes ; poke 
bonnet ; white lace mitts and small parasol. 

Gentleman's costume : light colored broadcloth trousers ; 
long-tailed coat ; plain double-breasted vest of different 
color ; high stock ; high silk hat ; side-burns. 

Gentleman strolls in from one end of the lane, picks a 
flower for the girl who comes down the lane with slow 
prim steps. She curtseys to him and together they enter 
the garden. She sings "Fifty Years Ago" to him while 
he sits on the bench watching her. Then he sings "Jump 
Jim Crow" to her, showing her the new dance which was 
once considered "really shocking." 

( See words of "Fifty Years Ago" and "Jump Jim Crow" 
with accompanying dance, pages 20 and 22.) 

Bustle Girl 1875 When Johnnie Comes 

Marching Home 

Old-fashioned silk bustle costume; full long skirt with 
many stiff petticoats underneath; tight bodice; leg-of- 
mutton sleeves ; elaborately trimmed hat of the period 
perched high on the head ; black silk mitts and parasol. 

She enters with quick mincing steps, turns around in front 
of the footlights to show the bustle. 

9 



Gibson Girl 1895 In the Good Old Summer 

Time 

Familiar Gibson girl costume. 

See magazine plates of that time or Gibson's "Illustra- 
tions of American Girls." 

She strolls through the lane and garden in a rather blase 
fashion with just a suggestion of superiority in her 
manner. 

Merry Widow 1900 Merry Widow Waltz 

Tall slender girl dressed in striking one-piece black gown ; 

large-brimmed Merry Widow sailor ; black gloves ; wears 

huge bunch of violets. 
Haughty and rather aloof, she comes down the lane, 

pauses on top step and glances at the audience through 

her lorgnette. 

Hobble Girl 1910 You're a Dangerous Girl 

Tight hobble dress ; very high-heeled tight pumps. 
Hurries in and across stage with short, jerky steps, de- 
scends steps with difficulty because of the tightness of 
her skirt. 

Southern Girl Dixie 

Light, ruffled summer dress; large floppy leghorn hat 
covered with flowers, either worn or carried by 
streamers ; light ruffled parasol ; arms full of flowers. 

Comes tripping along lane, smiles and rather flirtatiously 
throws a flower or two to someone in the audience. 

10 



Western Gibe Cheyenne 

Very robust girl in short khaki riding skirt and blouse; 
red handkerchief around neck; broad-brimmed cowboy 
hat ; high boots ; belt and pistol. Dashes in, waves hat 
to audience and rushes out through audience. 

Hawaiian Gibx Aloha 

Native Hawaiian costume: tight orange silk or cloth 
bloomers ; orange colored waist wrapped around body ; 
grass skirt of many layers reaching from waist to well 
below the knees. (This skirt can be fairly well imitated 
by cutting many layers of Dennison's buff crepe paper 
in one-third inch strips of the required skirt length.) 

Around the hair, neck, forearms and ankles are leis or 
flower wreaths, green, red, pink or orange. (These 
wreaths can be made by cutting Dennison's crepe paper 
into tiny circles, one and one-half inches in diameter, 
stringing those of the same color together and fluting 
the edges of each circle to produce a rippled effect.) 

Brown stockings. Face and arms colored with light brown 
make-up. 

Sings off-stage verse of "Aloha"; strolls in playing her 
accompaniment on the ukulele. 

Cuban Gibe La Paloma 

Slender, tall, dark girl in Spanish costume : long full dark 
skirt ; bright, heavily embroidered Spanish shawl ; black 
lace stockings ; high-heeled red slippers or black slippers 
with red heels. Hair done in Spanish fashion with high 
comb. She wears red rose, carries tambourine. 
Pauses in opening, shakes tambourine and dances a few 
steps of a Spanish dance. 

11 



Part II 
FADS AND FANCIES OF TO-DAY 

Characters Music 

Mary Jane London Bridge Is Falling 

Down 
Small girl dressed in child's white gingham dress, socks 

and black pumps ; hair bobbed or tied with bow. 
Jumps rope along the lane, across stage, and down aisle, 

keeping time to music. 

School Boy and Girl School Days 

Small girl in plaid school-dress and sun-bonnet of calico ; 
hair in braids down her back; carries old-fashioned 
slate. 

Bashful boy about the same age, in blue overalls ; torn, 
sleeveless shirt; old straw hat frayed around the brim. 

Girl enters from one end of lane, singing verse of "School 
Days." Boy, much embarrassed, follows her; hangs be- 
hind at the arch and finally gains enough courage to 
join her. 

They stroll arm in arm down the center aisle singing the 
chorus of the song. 

Party Girl Incense Burning 

Young girl of about twelve in her first party dress of white 

organdie with bright hair-ribbon and sash to match. 
She enters rather shyly, curtseys to the audience self-con- 
sciously, displays her brand new gown. 

12 



Gym Girl Any popular gym march 

Athletic girl in gym costume: dark blue bloomers, white 
middy ; black tie ; black stockings and white sneakers. 

Runs along the lane and through the arch with basket ball. 
Bounces it once or twice down-stage, pauses at foot- 
lights to make imaginary basket and dribs it down 
center aisle. 

Debutante and Dancing 

Partner Any popular waltz 

Lovely young girl in dance frock; stockings and evening 
slippers to match ; perhaps carries a bouquet of flowers. 
Waltzes down the lane and across the stage, carried away 
by the music. Her partner joins her and together they 
dance some of the latest steps. When the music ends 
they reluctantly stop dancing and wander down the 
center aisle quite oblivious of their surroundings. 

Riding Girl The Hunter's Song 

Girl wearing smart-looking riding habit, hat and boots. 
Strides down lane and across stage, striking her riding 
whip against her boots. 

Afternoon Gire Bridge Fiends. Tune : Cuba 

Two girls in becoming afternoon dresses, hats, gloves and 
beaded bags, are presumably on their way to a bridge 
game. One stops to powder her nose, the other takes a 
pack of cards from her bag. They sing bridge song be- 
fore making their exit. 

(See words of "Bridge Fiends," page 24.) 

13 



Sport Girl Any popular air 

Striking-looking girl in sport clothes : golf skirt, sweater, 

hat and scarf ; carries golf bag and clubs. 
Strolls down the lane, puts bag against bench and takes a 
few practice strokes, driving imaginary ball across foot- 
lights ; picks up bag, and follows ball down the aisle. 

Commercial Artist Girls The Studio Dwellers 

Two bobbed-haired girls in smocks ; plaided skirts ; velvet 

tarns and black ties; one carrying brush and palette, 

the other magazine sketches. 
They enter at the same time from each end of lane, meet 

at opening and sing song as they parade down center and 

before footlights. 

(See words and music of song "Studio Dwellers," 
page 21.) 

Red Cross Nurse (May be 

omitted.) The Rose of No Man's Land 

Tall nurse in white uniform : cap ; white shoes ; short blue 
cape lined with red, such as were worn during the war. 

Poses under arch with arms outstretched to represent fa- 
miliar Red Cross war poster. 

Business Girl Salary Song. Tune : Missis- 

sippi 

Girl in dark blue serge suit ; plain tailored hat to match ; 
tailored blouse ; black stockings ; brown oxfords and 
gloves ; carries small Corona in black case. 

Sits down on bench and types on Corona as she sings song. 

(See words of song "Salary Song," page 25.) 

14 



Flapper Girl You Must Flap To Be a 

Flapper. Tune : Florrie 
Was a Flapper 

Typical flapper: short plaided skirt; sweater; orange 

and black string tie ; white Bramley collar and cuffs ; 

bright scarf of many hues ; rolling flapper hat of felt ; 

woolen stockings, and galoshes. 
Enters nonchalantly with hands in pockets and in the most 

blase fashion sings song. 

(See words, You Must Flap To Be a Flapper, page 23.) 

Evening Girl Any popular song 

Tall striking-looking girl in stunning evening gown ; stock- 
ings and slippers to match; bright velvet evening wrap 
with handsome fur collar ; carries huge ostrich fan. 

Enters with great poise and assurance, displays her gown 
like a manikin and exits down center aisle. 

Bride and Her Attendants Wedding March from Lo- 
hengrin and Mendels- 
sohn's Wedding March 

Beautiful girl in white satin bridal gown with long court 

train; white tulle veil caught with orange blossoms; 

carries shower-bouquet of white roses and lilies of the 

valley. 
Attendants : four or more girls in organdie or tarlatan 

dresses of pastel shades ; tarlatan hats to match gown ; 

small nosegay bouquets of pink roses. 

15 



A bridesmaid enters from each end of lane (to Wedding 
March from "Lohengrin"), meets partner at the arch, 
advances down center. The others follow in similar 
fashion and take their places in semicircle formation, 
waiting for the bride. The bride enters with downcast 
eyes, pauses a moment under arch as music changes to 
Mendelssohn's march. Then she graciously smiles to 
her attendants and the cast. 



FINALE 

Entire Cast The Typical American Girl 

The music swings into "The Typical American Girl." The 
cast, who have been standing at the back of the hall, 
come down center aisle and up on the stage, grouping 
themselves in a semicircle around the bride as they sing 
to her. 

The Typical American Girl 
This girl has no bustle, hoopskirt or flare, 
And she doesn't walk demurely with a Puritan air, 
But she follows all her ancestors by keeping in the style 
And picking out a husband who is well worth while — you'll 
see! 

Everyone you know will say, 
O yes, they always go that way ; 
Insist with manner argumentative, 
That girl is representative, 
She's a typical American girl, 
She's a typical American girl. 

16 



PRODUCTION DETAIL 

Setting 

If the Review is produced on a stage representing a garden, 
have a solid background of real trees, or of pine boughs 
fastened to wire netting. If this is not feasible, a plain 
dark curtain, hung in folds, always gives an effective 
background. Between this and the white picket fence 
there should be at least two or three feet to allow ample 
room for passing. The two entrances are at each end 
of the lane and between the backdrop and the fence. If 
a third entrance, used only by the first and last charac- 
ters, can be arranged at the center back it helps to make 
the entrances of the Indian girl and the bride much more 
effective. The arched opening at the center of the 
picket fence should be wide enough to allow two charac- 
ters to enter side by side. Flowering vines, either wis- 
teria or pink ramblers, which trail along the fence and 
over the opening, give the necessary touch of color. 
(Directions for making wisteria from crepe paper can 
be obtained from Dennison's, Fifth Avenue and 26th 
Street, New York, N. Y.) The space between the fence 
and the footlights may be decorated to represent a gar- 
den. A small tree or two at each side, a white garden 
bench of stone or perhaps a fountain surrounded by flow- 
ers, all add to the effect. They must be arranged, how- 
ever, so that they are not in the way of the dancers. The 
sidedrops of the set should match the background. (An 
effective idea once used for the Review was a three-foot 
boxwood hedge running across the back of the stage and 

17 



down each side, against a dark curtain background. 
Many flowering shrubs and a stone fountain in the gar- 
den gave the necessary color.) 

If only one set of steps leading down to the audience is 
used, place it at the center and have all the characters 
exit down the center aisle. Two sets of steps, one at 
each end of the stage, are much better, because they 
afford a greater variety in the exits of the performers. 

The Review may be staged as an interior. A plain curtain 
background, preferably dark velvet curtains, hung in 
rich folds, a floor runner of the same color from the 
opening at the center back to the footlights, and per- 
haps two tall, formal urns or handsome floor lamps at 
each sidefront, as decoration, make a suitable setting. 

The Review, which was originally produced for the benefit 
of the Red Cross, was first staged down the center of a 
hotel ballroom with the audience seated at each side. 
To accord with the occasion, a Red Cross nurse was 
featured. While she stood at the entrance with out- 
stretched arms, to represent a popular poster, the or- 
chestra played "She's the Rose of No Man's Land." 
Naturally this wartime audience sprang to their feet 
and applauded again and again in recognition of the 
work she herself and others had done in the service. In 
the above production the bride has been featured, but 
another character might well be chosen, depending upon 
the occasion and circumstances under which the Review 
is given. 

18 



Music 

The music is very important in creating atmosphere for 
each character and in giving continuity to the perform- 
ance. As an overture, use music of "The Typical Ameri- 
can Girl," raising the curtain during the last two lines 
of the song. Without a pause, swing into "The Chatter- 
ing Squaw," playing a few introductory measures be- 
fore the Indian girl appears. Continue this music until 
she has disappeared from sight at the back of the 
theater, then without a pause swing into "Auld Lang 
Syne," the music for the Puritan Girl, and so on until 
the end of Part I, when the music of "The Typical 
American Girl" is repeated before swinging into Mary 
Jane's "London Bridge Is Falling Down." 

Lights 

In addition to the necessary stage lights a spotlight should 
be thrown on each performer as she enters, keeping it 
focused on her until she makes her exit at the back of 
the auditorium. There should be sufficient light in the 
house so that the audience may easily see each character 
as she passes down the aisle. 

Placards 

In addition to announcing the characters on the program, 
each should be individually introduced to the audience 
in some way. If the garden setting is used, have a small 
girl in quaint garden costume, with flowered hat and 
black mitts, and a gay-colored cretonne bag to match 
her gown, stand at one side of the stagefront, beside a 

19 



rustic easel. As each character appears have her take 
from her bag a placard bearing the name of that char- 
acter and place it on the standard. 

SONGS 

Fifty Years Ago 
Tune: I'll Be Your Valentine 

Sung by Hoopskirt Girl 

Some fifty years ago or more, 

In days of mitts and pinafore, 

When every maiden wore a Paisley shawl 

And had a tiny parasol, 

She wore a hoopskirt, were she fat or thin, 

Her bonnet tied beneath her chin, 

The men all fell for her because she was so sweet and shy, 

Or, maybe, she could bake a pie ! 

Chorus 
Oh, fifty years ago, 
They had voices soft and low, 
They learned the way to walk 
And also how to talk ; 
How in society 
To act with propriety, 
And just how to catch a beau — 
In the dear days of long ago. 

The dances then took place in state 
And ended at an hour not late ; 

20 



With courtly grace each man and maiden met 

In waltz and stately minuet ; 

The men, in waistcoats gay and laces neat, 

Brought each his maid a nosegay sweet, 

And with curtsey most demure and softly blushing cheek, 

Her "thank you" she would shyly speak. 

Chorus — Oh, fifty years ago, etc. 



The Studio Dwellers 
Music and Words by A dele Beattys 

Sung by Commercial Artists 

Oh, we are the girls from the studios, 

And we paint all the livelong day, 

Of course there are critics who scorn our type of art, 

Who think us ultra-modern because we dress the part, 

But we're really quite as clever as they. 

We design for the fashions a very smart gown, 

A hat, or a wrap, for a week-end out of town, 

Or perhaps we sketch a handsome youth or widely smiling 

miss 
To advertise a beauty cream or well known dentifrice. 

Chorus 

We've covers for the magazines, advertisements galore, 
We help to dress a window in your drug or jewelry store; 
Of furs upon my lady you've but to make a choice 
As she leads her little poodle to her big Rolls-Royce. 

21 



We've placards in the subway and billboards on the street, 

We decorate interiors for homes of the elite, 

We choose the rugs for your parquet floors, 

We even arrange department stores, 

We're often illustrious, always industrious girls. 



Jump Jim Crow, from "Maytime" 
Sung by Hoopskirt Girl's Partner, as an Encore 

Here's a dance that may be very shocking to a spinster or 

a frump, 
For it's apt to show your stocking when you take the little 

jump, 
They tell me that Victoria, who's very strict, you know, 
Bars everybody from the court, who jumps Jim Crow! 

Chorus 

Jump, jump, O jump Jim Crow, 
Take a little turn and around you go ; 
Slide, slide and point your toe — 
You're as naughty as the dickens 
When you jump Jim Crow. 



Description of Pantomime and Dance Accompanying 
the Song 

The man sings the song to the girl, showing the steps as 
he sings the chorus. She follows rather hesitantly the 
first time, but when they repeat the chorus she dances 
and sings with delighted assurance. 

22 



Steps to Chorus 

I. Four tiny jumps on both feet, hands on hips; that is 

1st iump on word "iump" ) , . 

„ , . , ct • „ r making a complete turn 

2nd jump on word "jump" ) 

3rd jump on word "O" in place 

4th jump on word "Jim" 



. facing partner, 
otn jump on word "Crow" ) 

II. Join right hands, swing partner around to right and 
back to place through "Take a little turn and around 
you go." 

III. Dropping hands, take two short slides to right on right 
foot alone — "slide, slide." Point right toe in front 
through words "and point." Hold this position through 
words "your toe, you're as." Join left arms, swing 
partner around to left and back in place through words 
"naughty as the dickens when you." Three short jumps 
in front of partner, hands on hips, during words, "jump, 
Jim Crow." 



You Must Flap To Be a Flapper 
Tune: Florrie Was a Flapper 

Sung by the Flapper 

If you'd be a flapper, be clever and be smart, 
You'd better bare your knees and bob your hair ; 
It's always understood that you "get there" by your art 
And do the thing that other girls don't dare. 

23 



You'll need a snappy walking stick and knickers for the 

street, 
A morning dress you needn't buy at all, 
And half a yard of chiffon will complete a costume neat 
That will fill the needs of almost any ball. 

Chorus 

You must flap to be a flapper, you must frivol, you must 

flirt, 
And try to be a fascinating kid ; 
You must dance ten nights a week, 
And your meals are quite unique. 
O, I don't know how you do it, 
I don't know how you do it, 
I don't know how you do it, but it's did ! 



Bridge Fiends 

Tune: Cuba 

Sung by Afternoon Girls 

Both Bridge Fiends, we play like madmen, 
From evening till early dawn; 
Gambling at Monte Carlo 
Has not the thrill of hearing 

1st girl One spade, 
2nd girl Two hearts, 
1st girl Two no trumps, 
2nd girl Oh ! 

24 



Bridge Fiends ! Nothing lures us. 
Bridge Fiends ! No care evades. 
Why don't you join our rollicking band 
And feel the thrill of holding a hand 
With 



1st girl One heart, 
2nd girl Two diamonds, 
1st girl Eight spades ! 



Salary Song 
Tune : Mississippi 

Sung by Business Girl 

S-A-L-A-R-Y — pretty nice, you see; 
I used to crave good-looking clothes, 
But never had enough ; 
But now I have my J-O-B 
I look like Lady Duff! 
S-A-L-A-R-Y — pretty nice for me! 

G-E-N-T-L-E-M-E-N— two dots ! 
That used to mean so much to me, 
It used to give me thrills, 
But now I only see it 
On letterheads and bills ; 
G-E-N-T-L-E-M-E-N— two dots ! 

25 



Typical American Girl 
See Music and Words from Vassar Follies 

Played as an Overture and Sung by Entire Cast as a 
Finale Chorus 

This girl has no bustle, hoopskirt or flare, 

And she doesn't walk demurely with a Puritan air, 

But she follows all her ancestors by keeping in the style 

And picking out a husband who is well worth while. 

Everyone you know will say, 

O yes, they always go that way ; 

Insist with manner argumentative, 

That girl is representative, 

She's a typical American girl, 

She's a typical American girl. 



Gavotte 

By Helen Durham and Janet Lane 

Music : The Glow Worm, by Paul Lincke 
(Published by Ed. Marks Music Co., 102-104 West 38th 
Street, New York, N. Y.) 

This dance, arranged for two people, is not an authentic 
gavotte but rather an adaptation of the old French 
court dance to modern music. It is very effective, es- 
pecially when danced in handsome nineteenth century 
gavotte costume. 

26 



Description of Steps 

Introduction 

During the first four measures, the dancers come slowly 
down the lane, and pose a moment at the entrance, with 
heads held high. The lady's right hand is held in the 
gentleman's left at shoulder level. They start Figure I 
from this position, that is, the center back of stage. 

Figure I — 16 measures 

Step forward, both with outside foot, gentleman R, lady 
L; count one. Bring inside foot up to outside foot, 
swinging weight on it ; count 2. Step forward with out- 
side foot; count 3. Hold; count 4. (Partners are 
turned slightly toward each other. Inside hands are 
joined and held high in an arched position a little toward 
the back.) 1 measure. 

Repeat same step with inside foot. (Partners are turned 
slightly away from each other. Hands, still joined, are 
held a little forward.) 1 measure. 

Repeat above, which brings dancers to front of stage. 

2 measures. 

Using this same step, partners separate, gentleman going 
toward the right, lady to the left. Each makes a large 
semicircle, meeting partner at the center back of stage. 

8 measures. 

Then dance down center, with hands joined, as they did in 
the first four measures. 4 measures. 

27 



Figure II — Balance Steps — 8 measures 

Facing partners, balance forward both with right. 

1 measure. 
Balance back, both with left. (Right hands are joined and 

held high.) 1 measure. 

Four slow marching steps, 2 to a measure, both starting 

right. Swing partner completely around and back to 

place. 2 measures. 

Repeat first two measures of this figure. 2 measures. 

Step right and bow, dropping hands. (See description of 

bow at the end.) 2 measures. 

Interlude of 4 measures 

During these four measures the dancers slowly take a skat- 
ing position, ready for the next step ; that is, both are 
facing the audience, with their right hands joined and 
held at lady's waist and with their left hands joined and 
held out to the left at shoulder level. This position is 
retained throughout the next figure, which is an elabora- 
tion of the well known "grape-vine" step, popular some 
time ago. 

Figure HI — 16 measures 

(Skating position described above.) 

Cross right in front of left; count 1. Step left to the left 

side; count 2. Cross right in back of left; count 3. 

Step left directly to left side ; count 4. 1 measure. 

Cross right in front of left ; count 1. Step left to left side ; 

count 2. Cross right in back of left ; count 3. Point left 

diagonally to left front; count 4. 1 measure. 

28 



Repeat this same motion going to right, that is, — 

Cross left in back of right; count 1. Step right to right 

side; count 2. Cross left in front of right; count 3. 

Step right to right side ; count 4. 1 measure. 

Cross left in back of right; count 1. Step right to right 

side; count 2. Cross left in front of right; count 3. 

Point right foot diagonally to right front ; count 4. 

1 measure. 
Repeat above step for ten measures, dancing back and 

forth across stage. 10 measures. 

Step and bow to partner. (See description of bow.) 

2 measures. 

Figure IV — 16 measures 

During this step the lady still stands. at the gentleman's 
right side, but faces in the opposite direction. The 
gentleman's right arm is held in front of the lady with 
his right hand at her waist. The lady's right arm is 
held in front of the gentleman with her right hand at 
his waist. 

Gentleman's Part — 

Gentleman balances back on right ; counts 1 and 2. Bal- 
ances forward on left ; counts 3 and 4. 1 measure. 

Gentleman walks back, starting right, with 3 short running 
steps ; counts 1, 2 and 3, and holds on right during count 
4. 1 measure. 

Repeat same forward, that is, gentleman balances forward 
on left ; counts 1 and 2. Balances backward on right ; 
counts 3 and 4. 1 measure. 



Gentleman walks forward, starting left, with 3 short run- 
ning steps ; counts 1, 2 and 3, and holds on left during 4. 

/ 1 measure. 
Repeat the above for ten measures, covering the stage. 

10 measures. 
Step and bow to partner. 2 measures. 

The lady does just the opposite. 

(Any strain of music is repeated while dancers make their 
exit. ) 

Description of Gavotte Bow — 2 measures 

Lady's bow — Step to the side with either free foot ; count 
1. Point the opposite foot forward; count 2, bending 
the back knee. Hold this position during counts 3 and 
4. 1 measure. 

Slowly rise, bringing feet together during next four counts. 

1 measure. 

Gentleman's bow — Step to side with either free foot, put- 
ting all weight on it; count 1. Bring feet together; 
count 2. Bend body very slightly forward with right 
hand over heart ; counts 3 and 4. 1 measure. 

Slowly assume an erect position. 1 measure. 

Colonial Minuet 
By Helen Durham and Janet Lane 
Music : Mozart's Minuet from "Don Juan." 
The dance is arranged for eight dancers, four ladies and 
four gentlemen. 

30 



Entrance 

The dancers enter in couples from each end of the lane, 
with three steps to a measure, take their places in two 
rows with two couples in a row, and bow to their part- 
ners before starting the first figure. Each lady is at 
her partner's left side. 

For the entrance use two measures of music before the 
dancers appear, continuing the music until everyone has 
reached his place and has bowed to his partner. Swing 
back to the third measure of music to start Figure I. 

Description of Steps 
Figure I — Promenade Step — 8 measures 

Six slow minuet promenade steps forward, gentlemen R, 
lady L, inside hands clasped and held high. (Descrip- 
tion of minuet promenade step: Step forward; count 1, 
keeping the other foot pointed in back. Hold this po- 
sition during counts 2 and 3.) 6 measures. 

Step, gentleman R, lady L, and bow to partner. Drop 
hand during bow. (See description of bow at the end.) 

2 measures. 

Figure II — Balance Step — 8 measures 

Balance forward, both on right, toward partner. 

1 measure. 

Balance backward, both on left, away from partner. 

(Right hands joined in arch position.) Swing toward 

partner. * measure. 

31 



Six slow walking steps, both starting with right, exchang- 
ing places with partner, right hands still joined. 

2 measures. 

Repeat first two measures of this figure. 2 measures. 

Step to right with right and slowly bow to partner, drop- 
ping hands. 2 measures. 

Figure III — Changing Position — 8 measures 

With 6 slow steps, gentlemen R, lady L, turn in place 
away from partner. The front line couples make a half- 
turn so that at the end of the second measure they 
have their backs to the audience ready to start toward 
the back of the stage. The back line couples make 
a complete turn so that at the end of second measure 
they are facing the audience ready to start forward. 

2 measures. 

With six slow steps, front line couples march to the back 
of the stage while the back line couples march forward, 
letting the lady and gentleman of the front line pass 
between them. 2 measures. 

With six slow steps the couple who are now in front line 
make a complete turn in place, away from each other, 
while the couple who are now in back line exchange 
places with six slow steps. 2 measures. 

Step and bow to partner. 2 measures. 

Figure IV — 8 measures 
Repeat Figure II — Balance Step. 

Figure V — Point Step — 8 measures 
Point outside foot forward; count 1. Point same foot 

32 



directly to side; count 2. Point same foot directly in 

front ; count 3. 1 measure. 

Step forward with outside foot; count 1. Hold counts 2 

and 3. 1 measure. 

Repeat first 2 measures with inside foot. 2 measures. 

Repeat first 2 measures with outside foot. 2 measures. 

Step with inside foot and bow to partner. 2 measures. 

Figure VI — 8 measures 
Repeat Figure II — Balance Step 8 measures. 

Figure VII — Grand Right and Left — 16 measures 

This step is an adaptation of the familiar "grand right 
and left" in which the dancers weave in and out, gentle- 
men going in one direction, ladies in the other. 

Point right in front of original partner; count 1. Hold 
counts 2 and 3. (Hands at side.) 1 measure. 

Starting right, pass with 3 short steps original partner 
on the right. (Right hands joined.) 1 measure. 

Continue, with 3 short steps, in the same line of direction 
toward new partner. (Hands at sides.) 1 measure. 

Point left in front of this partner ; count 1. Hold position ; 
counts 2 and 3. (Hands at side.) 1 measure. 

Starting left, pass, with 3 short steps, this partner on the 
left. (Left hands joined.) 1 measure. 

Continue, with 3 steps, pass on in the same line of direction 
to another new partner. (Hands at sides.) 1 measure. 

Step to the left and bow to this partner. 2 measures. 

Repeat above, starting with right and proceeding in the 
same general line of direction. 8 measures. 

33 



Exit 

The dancers march in couple formation down the steps 
and center aisle. The music continues until they are 
out of sight. 

Description or the Minuet Bow 

The bow always takes two measures of music, which are 
usually the last two of each eight-measured phrase. The 
more slowly the bow is done the more effective it is. 

Lady's bow — Step directly to the side with either free foot, 
putting all weight on it during count 1. Place toe of 
the other foot diagonally back of the front foot ; count 
2. Bend both knees; count 3. (Do not bend at the 
waist.) 1 measure. 

Slowly straighten knees ; counts 1 and 2. Bring feet to- 
gether; count 3. (Hands are held gracefully out at 
sides with palms down.) 1 measure. 

Gentlemen's bow — Step to the side with either free foot, 
putting all weight on it; count 1. Bring feet together; 
count 2. Bend body very slightly forward, with right 
hand over the heart ; count 3. 1 measure. 

Slowly assume an erect position. 1 measure. 



34 



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